Carlos Rojas Professor of Chinese Cultural Studies, Women’s Studies, and Arts of the Moving Image; Co-Director of Story Lab; Director of Graduate Studies, Department of Asian and Middle Eastern Studies, Duke University President, Association of Chinese and Comparative Literature Education: Columbia University, New York, NY Ph.D. with distinction in Modern Chinese Literature (2000). Dissertation: Flowers in the Mirror: Visuality, Gender, and Reflections on Chinese Modernity. David Der-wei Wang, director. Cornell University, Ithaca, NY B.A., summa cum laude in Comparative Literature and East Asian Studies (1995). Senior thesis: Nietzsche and the Body Politic: Culture and Subjectivity in Modern Chinese Literature. Edward Gunn and Geoff Waite, co- directors. Employment: Professor of Chinese Cultural Studies, Women’s Studies, and Arts of the Moving Image, Duke University (beginning July 1, 2016). Associate Professor of Chinese Cultural Studies, Women’s Studies, and Arts of the Moving Image, Duke University (2011-2016). Assistant Professor of Chinese Cultural Studies and Women’s Studies, Duke University (2009-2011). Assistant Professor of Chinese Literature and Film, University of Florida (2001-08). Visiting Appointments: Visiting Assistant Professor, MIT (Fall, 2008). Visiting Associate Professor, Shih-hsin University (Taipei, Taiwan) (2007-2008). Visiting Assistant Professor, Yale (Spring 2004). Wang-An Postdoctoral Fellow, Harvard University (2003-2004). Adjunct Assistant Professor, Columbia (2000-01; Summer 2002). Fang-Tu Postdoctoral Fellow, Columbia University (2001-2002). Adjunct Lecturer, City College of New York (Spring 1999–Fall 1999). 1 Publications: Books: A Unity of FraGments: Fruit Chan and HonG KonG Cinema (Hong Kong: Hong Kong University Press, 2017; under contract and in preparation). Homesickness: Culture, ContaGion, and National Transformation in Modern China (Cambridge: Harvard University Press, 2015). The Great Wall: A Cultural History (Cambridge: Harvard University Press, 2010). The Naked Gaze: Reflections on Chinese Modernity (Cambridge: Harvard University Asia Center, 2008); translated into Chinese as Luoguan: ZhongGuo xiandaixinG de fansi (裸觀：中國現代性的反思), Rae Jui-an Chao, trans. (Taipei: Rye Field Press, 2015; Shanghai: Shanghai Wenyi Press, 2016). Edited volumes: Ghost Protocol: DeveloPment and DisPlacement in Global China, Carlos Rojas and Ralph Litzinger, eds. (Durham: Duke University Press, 2016). The Oxford Handbook of Modern Chinese Literatures, Carlos Rojas and Andrea Bachner, eds. (New York: Oxford University Press, 2016). The Oxford Handbook of Chinese Cinemas, Carlos Rojas and Eileen Cheng-yin Chow, eds. (New York: Oxford University Press, 2013). RethinkinG Chinese PoPular Culture: Cannibalizations of the Canon, Carlos Rojas and Eileen Cheng-yin Chow, eds. (New York: Routledge, 2009). WritinG Taiwan: A New Literary History, David Der-wei Wang and Carlos Rojas, eds., (Durham: Duke University Press, 2007). Book-lenGth translations: Chen Xiaoming, Endless StruGGle: Postmodern Elements of China’s Avant-Garde Literature, Carlos Rojas, editor and translator (Duke University Press, under consideration). Chen Jianhua, Mao Dun: Revolution and Form, Carlos Rojas, editor and translator (Leiden: Brill, 2018, under contract and in preparation). Jia Pingwa, The Lantern Bearer, Carlos Rojas, translator (New York: CN Times Books Inc., 2017; under contract and in preparation). Yan Lianke, The ExPlosion Chronicles, Carlos Rojas, translator (New York: Grove/Atlantic Press, 2016). Ng Kim Chew, Slow Boat to China and Other Stories by NG Kim Chew, Carlos Rojas, editor and translator (New York: Columbia University Press, 2016). Yan Lianke, Marrow, Carlos Rojas, translator (Beijing: Penguin/Random House, 2015; Grove/Atlantic Press, 2017). Yan Lianke, The Four Books, Carlos Rojas, translator (New York: Grove/Atlantic Press, 2015) (short-listed for the 2016 Man Booker International Prize and long-listed for the 2016 Best Translated Book Award). Yan Lianke, Lenin’s Kisses, Carlos Rojas, translator (New York: Grove/Atlantic Press, 2012) (finalist for the 2013 Man Booker International Prize). Yu Hu, Brothers, Eileen Cheng-yin Chow and Carlos Rojas, translators (New York: Pantheon, 2009) (shortlisted for the 2008 Man Asian Literary Prize). 2 Guest-edited journal issues: “Xiandai ZhonGGuo wenxue de shiliao chanshi yu chonGGou” (现代中国文学的史料阐 释与重构) [Interpretation and Restructuring of Historical Sources Relating to Modern Chinese Literature], co-guest editor, with LI Song, of a special issue of ZhonGGuo xiandai wenxue (中国现代文学) [Modern Chinese literature] (in preparation for 2016). “Yan Lianke’s Mythorealism and Modern Chinese Literature,” guest editor for a special forum of Frontiers of Literary Study in China (in preparation, slated for the fourth issue of 2016). “Time and Temporality,” guest editor of a special issue of Frontiers of Literary Study in China (vol. 10, issue 1, 2016). “Discourses of Disease,” guest editor of special issue of Modern Chinese Literature and Culture 23.1 (Spring, 2011). Peer-reviewed book chaPters: “Fruit Chan: An Aesthetics of Fragmentation,” Transnational CinematoGraPhy Studies, Lindsay Coleman, Daisuke Miyao, and Roberto Schaefer, eds. (Lexington Press, volume in preparation). “A Touch of Sin and Intermedial Imaginations,” in Tim Trausch, ed, Martial Arts and Media Culture (Bridge 21 Publications, 2017). “Before and After The Midnight After: Occupy Central’s Specters of Utopia and Dystopia,” in UtoPia and UtoPianism in the ContemPorary Chinese Context: Texts, Ideas, SPaces, David Der-wei Wang and Zhang Yinde, eds. (Hong Kong University Press, 2017). “Time out of Joint: Commemoration and Commodification of Socialism in Yan Lianke’s Lenin's Kisses,” in Jie Li and Enhua Zhang, eds., Red Legacies in China: Afterlives of the Revolution in ContemPorary Chinese Culture and Society (Harvard University Asia Center, 2016), 297-315. “At Home in the World,” in David Der-wei Wang, ed., A New Literary History of Modern China (Harvard University Press, 2016). “On Time: Anticipatory Futurity in Dung Kai-Cheung’s Fiction,” in Oxford Handbook of Modern Chinese Literatures, Carlos Rojas and Andrea Bachner, eds. (Oxford University Press, 2016). “Introduction: On Writing, Literature, and Diasporic Modernity,” in Oxford Handbook of Modern Chinese Literatures, Carlos Rojas and Andrea Bachner, eds. (Oxford University Press, 2016). “‘I am Great Leap Liu!’: Circuits of Labor, Information, and Identity in Contemporary China,” in Carlos Rojas and Ralph Litzinger, eds., Ghost Protocol: DeveloPment and DisPlacement in Global China (Duke University Press, 2016). “Introduction: Specters of Marx, Shades of Mao, and the Ghosts of Global Capital,” in Carlos Rojas and Ralph Litzinger, eds., Ghost Protocol: DeveloPment and DisPlacement in Global China (Duke University Press, 2016). “How to do Things with Words: Yang Jiang and the Politics of Translation,” in Christopher Rea, ed., China's Literary CosmoPolitans: Qian ZhonGshu, YanG 3 JianG, and the World of Letters (Leiden: Brill, 2015). “Queer Utopias in Wong Kar-wai’s HaPPy ToGether,” in Martha Nochimson, ed., A ComPanion to WonG Kar-Wai (Wiley-Blackwell, 2015). “The Persistence of Form: Nation, Literary Movement, and the Fiction of Ng Kim Chew,” in Yingjin Zhang, ed., A ComPanion to Modern Chinese Literature (Wiley-Blackwell, 2015). “Speaking from the Margins: Yan Lianke,” in Kirk Denton, ed., The Columbia ComPanion of Modern Chinese Literature (Columbia University Press, 2015). “Niehai hua, zhihuan yu qiangpoxing chongfu”《孽海花》、置換與強迫性重複 [Flowers in a Sinful Sea, displacement, and repetition compulsion], in Ko Chia- cian 高嘉謙, ed., Wenxue, jinGdian, xiandai yishi 文學、經典、現代意識 [Literature, the canon, and modern consciousness] (Taipei: Linking, 2014), 338-347. “Collective Creation and the Politics of Visibility,” in Hans Holzwarth, ed., Ai Weiwei, (Taschen, 2014), 403-420. “The Return of the Vagabond: Cui Jian and Political Iconoclasm,” in Eunice Rojas and Lindsay Michie Eades, eds., The Role of Music in Multicultural Activism, vol. 2 (Praeger Press, 2013), 311-328. “Viral Contagion in the RinGu Intertext,” in Daisuke Miyao, ed., The Oxford Handbook of JaPanese Cinema (Oxford University Press, 2013), 416-437. “Along the Riverrun: Cinematic Encounters in the Work of Tsai Ming-liang,” in Carlos Rojas and Eileen Cheng-yin Chow, eds., The Oxford Handbook of Chinese Cinemas (Oxford University Press, 2013), 626-646. “Introduction: Chinese Cinemas and the Art of Extrapolation,” in Carlos Rojas and Eileen Cheng-yin Chow, eds., The Oxford Handbook of Chinese Cinemas (Oxford University Press, 2013), 1-20. “Danger in the Voice: Alai and the Sinophone,” in Shu-mei Shih, Chien-hsin Tsai, and Brian Bernards, eds., SinoPhone Studies: A Critical Reader (Columbia University Press, 2013), 296-303. “Writing the Body: Performing Gender in Modern China,” in Howard Chiang, ed., TransGender China (Palgrave McMillan, 2012), 199-224. “Lu Xun: Yi ge jingshen shang de yisheng” 魯迅：一個精神上的醫生 [Lu Xun: A spiritual physician], in David Der-wei Wang, ed., ZhonGGuo xiandai xiaoshuoshi daGuan: Yu Xia ZhiqinG xianshenG duihua 中国现代小说史大观： 与夏志清先生对话 [An overview of the history of modern Chinese narrative fiction: A conversation with C.T. Hsia] (Taipei: Lianjing chuban gongsi, 2010), 165-178. “Alai and the Linguistic Politics of Internal Diaspora,” in Jing Tsu and David Der-wei Wang, Global Chinese Literature: Critical Essays (Leiden: Brill Press, 2010), 115-132. “Abandoned Cities Seen Anew: Reflections on Spatial Specificity